Mikhailovsky at the London Coliseum, March 2013

[Bruce Wall]

The fate of the Mikhailovsky Giselle makes me fear rather for an ENB programme called 'Ecstasy and Death' !!!!

[rowan]

Before I set out to see my first Don Quixote tomorrow, what is the correct pronunciation of this ballet? I've found Spanish, Old Spanish, French and English pronunciations, namely Don Kee-Ho-Teh, Don Kee-Sho-Teh, Don Kee-Shot, Don Kwiks-Ot, or something like that! What's the correct pronunciation?

[Ian Macmillan]

Oh dear - without wanting to be glib, I guess it does depend on nationality and mother tongue, but I'd guess that most attending tomorrow might opt for your first version.  Whatever, enjoy it - and don't be surprised if you conclude that the Don is almost incidental to the balletic fireworks on display!

[Jan McNulty]

Before I set out to see my first Don Quixote tomorrow, what is the correct pronunciation of this ballet? I've found Spanish, Old Spanish, French and English pronunciations, namely Don Kee-Ho-Teh, Don Kee-Sho-Teh, Don Kee-Shot, Don Kwiks-Ot, or something like that! What's the correct pronunciation?

 

Don Q!!!

 

I think Ian is correct in that it depends on your Mother Tongue but I tend to say Don Kee-Ho-Teh and I rather like donkeyshot (although I don't approve of shooting donkeys!).

 

Whatever - ENJOY!!!

[zxDaveM]

After Giselle, strides in Don Quixote! Here area couple of sample photos, with Ivan Vasiliev and Natalia Osipova. They only did a little bit as they are performing the opening night later in the day. The set on Flickr will fill up as I complete the processing - but as they are performing today, thought i'd pop up a couple to get things going:

 

Mikhailovsky Ballet - Don Quixote (Ivan Vasiliev and Natalia Osipova)

© Dave Morgan. Courtesy of DanceTabs / Flickr

 

 

Mikhailovsky Ballet - Don Quixote (Ivan Vasiliev and Natalia Osipova)

© Dave Morgan. Courtesy of DanceTabs / Flickr

 

 

Mikhailovsky Ballet - Don Quixote (Natalia Osipova as Kitri)

© Dave Morgan. Courtesy of DanceTabs / Flickr

 

See more...

 

Set from DanceTabs - Mikhailovsky Ballet: Don Quixote

Courtesy of DanceTabs / Flickr

[capybara]

The fate of the Mikhailovsky Giselle makes me fear rather for an ENB programme called 'Ecstasy and Death' !!!!

 

Alas, yes.

[johnross]

As Dave mentioned earlier it was a very strange general rehearsal with two Kitris and Basilios but I enjoyed both pairs. Sadly we did not get the famous Pas de Deux.  So here are a few more pictures from today.

 

 

Kitri - Natalia Osipova and Basilio - Ivan Vasiliev 

 

 

 Valeria Zapasnikova - Street Dancer 

 

More pictures on www.johnrossballetgallery.co.uk

Edited March 30, 2013 by johnross

[Jan McNulty]

Thanks Dave and John for the fabulous photographs.

[alison]

But the RB has an established clientele whereas the Mikhailovsky does not  and, apart from the fame of Osipova and Vasiliev, is relatively unknown. But it remains astonishing that Semionova, Matvienko, Sarafanov and Novikova were not more of a draw. They are all simply wonderful artistes whom it is a privilege to get to see. 

 

Maybe, but I doubt that anyone who isn't a regular ballet-goer would actually have heard of them.  I would certainly have loved to have seen Novikova and Sarafanov, had they been on on a different date.

[Ann Williams]

Re the pronounciation of Don Quixote, Janet made reference to the 'Donkeyshot' version.  Cross my heart and hope to die, I actually saw this  version in a programme for an ENB gala at the start of my ballet-going career in the very late 80s or v. early 90s.  So early was it, in fact, that I couldn't even make a guess as to what ballet it was and spent quite a lot of time trying to visualise a ballet about a donkey being shot...

 

I think the 'Don-key-ho-tay' version is probably the most accurate - just don't say it that slowly! 

[stucha]

'Donkey shot' is the pronunciation of the French version of the name Don Quixote.  It is written  Don Quichotte in French.

 

There is nothing wrong with any of the pronunciations above.  Use the one you prefer!

[aileen]

Well, this was the first time that I had seen DQ and, as others have said, it is a jolly old romp which was highly enjoyable last night. There was a great deal of accomplished cloak and fan action and the whole thing fairly rattled along. Natalia and Ivan were perfectly cast and carried off the bravura dancing with aplomb. I don't think that I've ever been at a ballet where the audience was as wildly enthusiastic as last night's. Natalia's fouettes in the last act brought the house down. Actually, the only dancing by her and Ivan which I (but no-one else) found slightly unsatisfying was the pdd in the last act. There was some very good dancing by others (eg the Gypsy King) but the performance was absolutely dominated by Natalia and Ivan. I have to say that, having seen last night's performance, I feel rather doubtful about whether the RB really has enough suitable dancers for a run of DQ next year (I can only think of two or three who, IMO, would be suitable).

[Arky]

I saw Osipova dance in Swan Lake with Acosta last year and was very disappointed at her lack of emotion and general involvement, though technically she was very good. What a contrast last night in Don Q.  Both she and Vasiliev gave amazing performances.  Like Aileen, I have never witnessed such audience enthusiasm, the applause was truly rapturous. They were still clapping loudly when I left for my train.

As for RB, I'll start the suggestions with Marianela Nunez,  perhaps Yuhui Choe/Laura Morera. For the men Steven McRae, Federico Bonelli, possibly Ricardo Cervera/Alexander Campbell/Ryoichi Hirano? Also Matthew Golding, who is a guest this season, makes a wonderful Basilio.

[aileen]

Arky, like you I was very disappointed with Natalia in Swan Lake last Autumn. I felt that she was actually unsuited to the O/O role or, alternatively, had been inadequately coached. As you said, what a contrast to last night's performance! Apparently, there were seven or eight curtain calls (I only stayed for the first two as my daughter was tired and I wanted to avoid the crowds on the stairs and get home asap).

 

As for your suggestions for the RB casts, I had only thought of Marienela and Steven, plus Carlos perhaps. I'm not sure that the other men have both the technical virtuosity and the flamboyance needed for the role of Basilio.

[capybara]

Stunning performances from Natalia and Ivan again tonight and, as someone has said, her fouettes were astonishing. Having seen ivan previously on stage and recently in the cinema (the Bolshoi version of DQ) I had a slight sense that he might have been in some pain from his back. If so, I hope he is not doing it any permanent damage by dancing on.

 

And, incidentally, reference to the discussion above, no "donkeys were shot" although an adorable one made two appearances on  stage.

[alison]

I too was wondering whether he might have had a residual back problem from his recent injury at La Scala, or, perhaps more importantly, whether he might develop one in the future with all those extra corkscrewing turns he inserts into his jumps.  I certainly hope it never comes to that.  And yes, I agree that Osipova's fouettés were quite astonishing.

[Bruce Wall]

Osipova's EVERYTHING was quite extraordinary I thought .... and, on the great whole, I thought this company came up spades in terms of the sharpness of their interpretations.  I saw three performances with three different Espada's and each in his own way was very strong.  Moreover the Gypsy dancers were all quite phenomenal.  Bravi.  I fear for the RB's production.  I fear that it may well be too soft; fuzzy round its edges.  (Dowell, himself, said after the mount of the Baryishnikov production at the Opera House that he thought that the ballet (e.g., Don Q) was not completely in 'the Royal's character'.  I tend to think this is true today as well.  Would that the management had decided to have Messerer come and stage it for them rather than a relative novice in that department (albeit one who is celebrated in both the UK and Cuba as a dancer).  

[Lisat]

I also was fortunate to see both Giselle and Don Quichotte. I was unable to find Osipova believeable in Giselle. There seemed to be a lack of fraility. Both Vasiliev and Osipova are technically delightful but it detracted from my ability to enjoy their interpretations. Vasiliev in particular as he does not come across as nobility. In contrast I felt their Don Quichotte was spot on. Delightful dancing which matched their technical prowess. The grand PDD was weaker to be sure but the entire production was well worth it.

 

During the production I too thought of Royal Ballet attempting this ballet and felt dread. I can think of none save Nunez who could be passable in this ballet. It is definitely not their style or comfort. I do not like the idea of pairing Nunez with McRae. Their bodies do not match and I would find the difference in line and form very distracting and unpleasant. I felt the same while watching Rojo with Muntagirov. I was surprised she cast him as her partner when they are so obviously different. For me I felt it enhanced what was not pleasant in their lines, musicality and form as opposed to highlighting their strengths. This is just me. I am particular in my narrow definition of "ballerina" and my expectations of world class companies, perhaps too much so.

[capybara]

What I should have added last night was a comment about the extent to which Osipova and Vasiliev, and indeed the whole troupe and the DQ production itself, generated a level of interest and excitement in ballet that is rare to behold. If the general talk in the toilet queue is about the performance rather than the minutiae of life then the audience is really hooked and enthralled - and it was. Let's hope that the halo effect carries forward into sales and enthusiasm for home and other visiting companies - indeed for ballet more generally. And fingers crossed that Carlos can pull it off for the RB.

[Bruce Wall]

What I love about Osipova is that you (well, at least 'I') get the sense that there is something there to fight with - and she's not frightened to show that in the specifics of her performance.  'Take it or leave it' she cries - much as Makarova - another Natalia - so bravely and so joyfully reveled in before her.  As Hallberg pointed out last week in an insightful interview quoted within these pages' links (and, boy, did I come away SO admiring him after that), Osipova is UNIQUELY a dancer who ENTIRELY responds to the environment that surrounds her.  Otherwise, as Hallberg pointed out, 'she simply can't'.  I, too, was disappointed by much of the outcome of her RB performances in SL.  Now, perhaps, I better understand.  Perhaps she was simply responding to the vulgarities that make up so much in that particular production's climb.  If that WAS the case - and certainly I didn't understand that at the time - then I am proud to admit my own failing.  Listen, I am wholeheartedly with you NOW, Natasha.  'Go for it, girl', I proclaim: 'Bless you.  Bless you for simply BEING NATALIA'!!. Above all, it's your guts I admire - and I sense - above ALL - it's that aspect which draws your cheers and will persist in your battle against time.  BRAVA! 

Edited April 1, 2013 by Meunier

[annamk]

What I love about Osipova is that you (well, at least 'I') get the sense that there is something there to fight with - and she's not frightened to show that in the specifics of her performance.  'Take it or leave it' she cries - much as Makarova - another Natalia - so bravely and so joyfully reveled in before her.  As Hallberg pointed out last week in an insightful interview quoted within these pages' links (and, boy, did I come away SO admiring him after that), Osipova is UNIQUELY a dancer who ENTIRELY responds to the environment that surrounds her.  Otherwise, as Hallberg pointed out, 'she simply can't'.  I, too, was disappointed by much of the outcome of her RB performances in SL.  Now, perhaps, I better understand.  Perhaps she was simply responding to the vulgarities that make up so much in that particular production's climb.  If that WAS the case - and certainly I didn't understand that at the time - then I am proud to admit my own failing.  Listen, I am wholeheartedly with you NOW, Natasha.  'Go for it, girl', I proclaim: 'Bless you.  Bless you for simply BEING NATALIA'!!. Above all, it's your guts I admire - and I sense - above ALL - it's that aspect which draws your cheers and will persist in your battle against time.  BRAVA! 

Thank you for drawing my attention to the Hallberg interview Meunier. What Hallberg says about Osipova is fascinating & sad that he feels as he does about himself. It came into my mind as I read it that Alina Cojocaru has surely found her individual voice.

[Bruce Wall]

Thank you for drawing my attention to the Hallberg interview Meunier. What Hallberg says about Osipova is fascinating & sad that he feels as he does about himself. It came into my mind as I read it that Alina Cojocaru has surely found her individual voice.

 

Thanks, annamk.  Agree about Cojocaru.  What impressed me about Hallberg was the breadth behind the mind of his reach.  This is, I think, the future leader of a company. They would be proud to have him in time I feel.  Perhaps a successor to Kevin MacKenzie (??) who has, all in all I think, done a fine job - certainly in oft difficult circumstances - for a more sustained period that a goodly many in other similar sized situations.

Edited April 1, 2013 by Meunier

[lartiste]

Don Quixote was an out of this world experience on Saturday evening everyone from the corps onwards gave it their all! Osipova and Vasiliev danced with such exuberant pizzaz. What amazes me is that DQ is the ballet they are famed for throughout the world and that no matter how many times they perform each rendition has a tireless freshness to it, for the duration of theur time on stage you can tell they wouldn't want to be anywhere else. It was as though the ballet was made to showcase their skills.

 

I first saw DQ performed when the Bolshoi visited the Royal Opera House on their tour back in 2010 and this performance was every bit as enthralling to watch!

 

There were at least six curtain calls and a flower throw, the rapturous applause could have lasted forever!

 

I would however advise against trying to obtain an autograph post performance - I went to the Coliseum Stage Door after DQ with around twenty to thirty other people. I'm not sure if something was going on in Covent Garden or if there was concern over the sheer number of people wanting to congratulate the dancers post performance but three police vans turned up at the end of Bedfordbury Street . Then an elderly man arrived from out of nowhere and started insulting everyone and calling them idiots for waiting. I remember reading -  I think it was on the old Ballet forum boards of people meeting Ivan and Natalia post performance in 2010 and how gracious they were about taking photographs etc so I found it quite dispirting that this wasn't encouraged at the Coliseum. A security guard did come out to ask the troublemaker what he was doing so perhaps he is well known at ENO for trying to cause a disturbance but regardless I left without waiting to meet any of the dancers so I'm not sure if others decided to wait it out through the barrage of insults and police presence.

 

I am glad of the discussion about the correct pronunciation of Don Quixote as I have heard it proncounced so many different ways and I was beginning to think I was pronouncing it incorrectly!

[patsomerset]

Don Quixote was an out of this world experience on Saturday evening everyone from the corps onwards gave it their all! Osipova and Vasiliev danced with such exuberant pizzaz. What amazes me is that DQ is the ballet they are famed for throughout the world and that no matter how many times they perform each rendition has a tireless freshness to it, for the duration of theur time on stage you can tell they wouldn't want to be anywhere else. It was as though the ballet was made to showcase their skills.

 

I first saw DQ performed when the Bolshoi visited the Royal Opera House on their tour back in 2010 and this performance was every bit as enthralling to watch!

 

There were at least six curtain calls and a flower throw, the rapturous applause could have lasted forever!

 

I would however advise against trying to obtain an autograph post performance - I went to the Coliseum Stage Door after DQ with around twenty to thirty other people. I'm not sure if something was going on in Covent Garden or if there was concern over the sheer number of people wanting to congratulate the dancers post performance but three police vans turned up at the end of Bedfordbury Street . Then an elderly man arrived from out of nowhere and started insulting everyone and calling them idiots for waiting. I remember reading -  I think it was on the old Ballet forum boards of people meeting Ivan and Natalia post performance in 2010 and how gracious they were about taking photographs etc so I found it quite dispirting that this wasn't encouraged at the Coliseum. A security guard did come out to ask the troublemaker what he was doing so perhaps he is well known at ENO for trying to cause a disturbance but regardless I left without waiting to meet any of the dancers so I'm not sure if others decided to wait it out through the barrage of insults and police presence.

 

I am glad of the discussion about the correct pronunciation of Don Quixote as I have heard it proncounced so many different ways and I was beginning to think I was pronouncing it incorrectly!

 

I too saw their thrilling performance at ROH in 2010 and I have never forgottenn the electric atmosphere in the theatre that afternoon.  I have also seen the recent Bolshoi transmission which was also breathtaking.  For this reason I fear for the Royal Ballet and rather wish they weren't even attempting it!  I saw it way back in 2001, with what seemed to be stellar cast including Tamara Rojo & Johan Kobborg to mention but a few, and I can remember even now, my sense of disappointment that it failed to catch fire.  I wish Carlos all the best with his production and I am willing him to succeed but it simply may not be the right vehicle for the Royal Ballet 

[aileen]

Of course, Carlos' version could be very different and be designed round the strengths of the RB dancers. I wonder how he will go about it. Will he choose a couple of casts and choreograph it on them or will he work out the choreography first and then choose the casts best suited to the choreography?

[Jan McNulty]

I thought it was to be based on the Petipa choreography.  Carlos Acosta has mounted shows before so he is not entirely without experience and Don Q must surely be in his blood given his Cuban background.

 

I've never seen O & V live but I have watched the GPD on You Tube.  I can imagine the excitement they must generate but my own personal preference would be for more restrained fireworks.

[capybara]

Of course, Carlos' version could be very different and be designed round the strengths of the RB dancers. I wonder how he will go about it. Will he choose a couple of casts and choreograph it on them or will he work out the choreography first and then choose the casts best suited to the choreography?

 

But, surely, he is producing DQ not re-choreographing it all?

 

 

[Apologies - I was writing this at the same time as Janet posted!]

Edited April 1, 2013 by capybara

[Jan McNulty]

Two minds one thought Capybara!

[patsomerset]

I thought it was to be based on the Petipa choreography.  Carlos Acosta has mounted shows before so he is not entirely without experience and Don Q must surely be in his blood given his Cuban background.

 

I've never seen O & V live but I have watched the GPD on You Tube.  I can imagine the excitement they must generate but my own personal preference would be for more restrained fireworks.

 

Normally I would agree with you about the fireworks Janet ie I usually hate what I call showing off and all that pausing for applause but I could not  help but be seduced by the Don Quixote of these two.  They just seem to love dancing, enjoy dancing together and charming the audience.  It's hard to resist!

[Chris]

I think it's a great shame that the fuss about Vasiliev and Osipova has overshadowed the other principals. I haven't been able to go out in the evening lately so only saw Denis Matvienko and Oksana Bondareva on the Sunday matinee. They were astonishing - very Russian and showy but they had plenty of ability to show off with. Like other Russians I've seen, they did milk the applause, even slipping between the curtains for more after the house lights were on and half the audience had left. Mind you, there were still plenty of flowers left to throw so someone was expecting it!

[billboyd]

I agree - Denis Matvienko and Oksana Bondareva were also superb.

 

What a wonderful Easter weekend!

[alison]

Since we seem to have digressed, at least in part, on to the RB and Don Q, I'd just like to say that to my recollection both Nunez and Cojocaru were very good Kitris, and by the end of the second run the entire company was looking rather more convincing in it.  As for Rojo, she may do very good Don Q pdds - and has done so on many occasions - but Kitri isn't her forte, any more than, say, Swanilda is: she's not really convincing as a soubrette.

[Fiona]

From what I recall of the original announcement, Carlos Acosta will also be performing in Don Quixote as well as producing the show.  Perhaps with Nunez as his Kitri?  I am sure a hugely popular pair in ticket sales.  Also Cojocaru recently performed Don Quixote for ABT in New York, and got rave reviews for her perfomance.